"He is Armenian, Moscow trained, worked with Lazar Berman in Italy, and he is an extraordinary talent. Vardan Mamikonian seems to have everything going for him - a powerful technique, a resonant sound capable of all kinds of nuance, and an individual musical mind. In short, Mamikonian is a finished artist as well as a virtuoso artist".
HAROLD C. SCHONBERG (New York Times)
Article from: American Recording Guide, Orfeo 472981
Eine enthält pianistische Prüfsteine von der Campanella-Etüde bis zum ersten Mephisto-Walzer (Orfeo C472981), die andere rückt mit „Liebestraum“, „Funérailles“ und „La lugubre gondola“, die eine fulminante Interpretation der h-Moll-Sonate...MAX NYFFELER, NMZ
It arrived in Davies Symphony Hall on Thursday evening in the person of Vardan Mamikonian, an Armenian-born firebrand who blazed his way through Tchaikovsky's Piano Concerto No. 1 in B-Flat Minor. For the most part, the playing was fresh, invigorating and imbued with personality. ALLAN ULRICH - San Francisco Chronicle
There was no lack of ripeness in intense-looking, Armenian-born (in 1970) pianist Vardan Mamikonian's performance of Rachmaninoff's Piano Concerto No. 1, pouring on the rubatos and grandiose flourishes in the lengthy opening movement as if this were one of the prime middle concertos, only to scale back toward a gentler approach in the Finale. Richard S. Ginell - Los Angeles Times
The opening of Rachmaninov’s Piano Concerto No. 1 reveals the other end of Mamikonian’s sonic range–the big, full chords both here and in his stunning first movement cadenza nearly reach Horowitzian levels of volume and sturdy strength. Mamikonian is a cultivated and tasteful player. Classics Today- Victor Carr Jr
" Avec Debussy, c'est le triomphe d'un toucher racé, divers et subtil,
qui recrée avec bonheur les atmosphère voulues par l'auteur.
C’est décidément un très grand pianiste".
Pierre Petit - Le Figaro
"Mr. Mamikonian demonstrated a technique that combines power and
gracefulness, an ear for stylistic nuance and flashes of interpretive ingenuity".
Allan Kozinn - New York Times
« Son jeu est d’une beauté irradiante : jamais Mamikonian ne cogne, toujours il chante. Ses interprétations élégantes, raffinées.... »
A. Lompech - Le Monde
Like Horowitz in 1932 (Naxos Historical 8.110606) and Argerich in her recording of 1971 (DG 447430-2), he successfully makes the distinction between the big dramatic parts and the quieter lyrical sections, endowing the latter with poise and sensitivity. Having said all this, Mamikonian is able to traverse the Sonata’s wide range of emotions and deliver an enriching performance, one to which I would certainly return.
Stephen Greenbank - MusicWeb International